Attendance open and free while places last

Artists in Residence is a joint program by CA2M and La Casa Encendida. Its goal is to support creation by dance artists and other artists working with their body. The program offers artists spaces to experiment, to think and to present their proposals.

Acento is a program linked with a Artists in Residence. Projects carried out during 2013 stays will be resented and a meeting space with 2014 artists will be created. Both institutions want to stress the reflection resulting from artistic production that happens through the body. Body is hereby understood as social body, as a political construction that that transforms sensitivity into knowledge.

Artisits selected in 2013 were: Elisa Arteta,  Cristina Blanco, Pablo Esbert, Carmen Fumero, Martín Llavaneras, Cecilia Lisa Eliceche, Elpida Orfanidou and Juan Perno,  Ángela Peris, Jesús Rubio Gamo and Navidad Santiago.

Admission free while seats are available.

PROGRAMMING

THU 13 FEB IN LCE

20.30h. Building Ropes, by Carmen Fumero

This is a journey made with sensations. Two people relate with each other using intuition represented by their hands, able to express desire and impulse. Sometimes they feel a spontaneous and intuitive need to follow the same direction; sometimes guiding is their objective, and some others they let themselves go. The hands answer the need to recover that emotion. As a result, a past sensation.

Carmen Fumero has carried out several solo projects, among which a work from 2011, with the support of Laura Kumin and Daniel Abreu stands out. In 2010 she received a residence grant in Teatros del Canal through Madrid Choreographic Contest, and that is when she creates her first big format work, Irony, which opened at Teatro Pradilo in 2011. In 2013 she received two choreographic residences, one in Teatros del Canal and another one in La Casa Encendida.

http://carmenfumero.blogspot.com.es/

21.30h. SuperFicials, by Navidad Santiago

This work is a reflection on matter’s communication capacity, starting from elemental particles until reaching human behavior. Because behind modern science, behind fractures and unions, behind love and unease, behind social change, poetry and fiction, our behavior patterns convey the conduct of the most essential matter, of the most superficial matters.

Navidad Santiago (Madrid, 1975) holds a Sociology degree by the UCM. Madrid; a post-graduate degree in Political History by Palachejo University. Olomouc. Chec Republic, and a degree in Classical Dance by África Guzmán, SCAENA, Madrid Dance Center.

FRI 14 FEB IN CA2M

19.00 h. Elpid’arc, by Elpida Orfanidou and by Juan Perno

Elpida Orfanidou and Juan Perno decide to plunge into an impossible adventure: to copy and recreate one of the most important works of the history of cinema, the silent movie La passion de Jeanne d’Arc (1928) directed by C.Th.Dreyer and featuring María Falconetti as main actress. Elpid’arc is a film-performance where cinema and theatre become an alchemical solution. The unexpected encounter between mysticism, everyday life and sense of humor makes this work fascinating.

Elpida Orfanidou (Greece, 1981) is a Greek choreographer and performer; she studied dance and performance in Athens, Arnhem, Montpellier and London. She has created several solo projects that were gathered in “One is almost never”. She has worked with Herman Heisig (United States) and Juan Perno ( Elpid’arc). As a performer she has worked with Gui garrido, Tim Etchells, Mahela Rostek and Meg Stuart among others.

Juan Perno (Madrid, 1980) holds a degree in Philosophy (UAM Madrid) and a PhD in Aesthetic, Photography and Audiovisual Communication (Fine Arts College. Universidad Politécnica of Valencia). He has been a teacher of real and live cinema and video in several centers. He worked as a creative director of digital advertisement in Italy for four years. At the time he works in projects mainly focused on appropriation in different fields such as video, photography and theatre. Elpid'arc is his last work. It’s a co-production between HAU Theatre Berlin and the Onassis Foundation in Athens, together with La Casa Encendida and CA2M.

http://www.juanperno.com/

http://vimeo.com/elpidaorfanidou

20.30h. Vortex agitator, by Cristina Blanco

Vórtex agitator is Cristina Blanco’s brand new project. Starting with the wish to work with different genres (cinema, opera, theatre, musical, etcetera…) the artist researches on each genre’s conventions in order to question their rules and to surprisingly combine them. A live collage of genres that talk to each other and break their own codes, questioning their own nature and playing at changing the rules. Why do we associate a symphonic orchestra playing dissonant music with a scary movie? What happens if the credits at the end of a James Bond movie have a background of traditional bagpipe Galician music? How do E.T. and a bishop live together in the Far West? What about a Sevillana dancer and a ninja fighter in a spaceship?

After getting a degree in Mime Theatre by RESAD, Cristina Blanco works as an actress in several theatre companies. She gets interested in dance and follows a few workshops, plays different roles in a few short films and sings in a few bands. In 2004 she creates her first solo project: cUADRADO_fLECHA_pERSONA qUE cORRE (square, arrow, person who runs). In 2006, she creates caixa preta_caja negra together with Brazilian choreographer Claudia Müller. In 2008 she opens The Nevestarting Story, a project by Cuqui Jerez, María Jerez, Amaia Urra and Cristina Blanco. In October 2009 she opens The Croquis Reloaded in Madrid, a work by Cuqui Jerez with Cristina Blanco. In September 2010 she features TELETRANSPORTATION installation/piece created for Mapa festival, and in October she opens ciencia_ficción (science-fiction), a solo chat-process-blog-concert.

http://www.tea-tron.com/cristinablanco/blog/

SAT 15 FEB IN LCE

17.30h. Impermanence, by Elisa Arteta

The artist proposes a corporeal, visual and sound experience that refers to constant change and no-return. The artist’s movements are limited in this situation and she needs to adapt her body to a new habitat. When time passes by, a well-defined trail is left behind which becomes the memory of what happened there. Meanwhile the audience can freely walk around the installation and choose the duration of their experience.

Elisa Arteta is a dancer in the broad sense of the term. Her work shows many layers and interests, ranging from video camera use, to proprioception study or the search of ways to integrate different themes on stage. At the moment she questions the intentions of a body that is displayed on stage and the meaning of the concept of choreography itself. She always looks for very different contexts to present her work. http://elisaarteta.com/

18.30h. Sound-sensing the space, by Ángela Peris Alcantud

This work is about inventing a new sound reality. This reality exists and it’s right here, around us. In order for this world to come into light, it needs to be vibrated, told, noted down, whispered, broken down, played and displayed. The idea of sound-sensing results from the need of creating movement through sound. Our own imagination or an external factor (all the sounds around us) could be creating this sound. In both cases and both through the internal and the external sound, sentences are created with the body and the voice that finally become a rhythmic score, a piece of sound and movement. Sound-sensing means to experience sound islands that together make a noisy and invented archipelago.

Ángela Peris Alcantud holds a degree and a master in Audiovisual Communication; she studied choreography and dance in Martha Graham School and Dance Space Center (now DNA), New York; in SNDO, School for New Dance Development, Holland, and in Institut del Teatre, Barcelona. Her work is a quest for a meeting point between movement, voice and thought. Together with artist Alma Söderberg, in 2012 she created ALLES, a piece designed for children. Also, since 2011 she works as a collaborating artist in Yehudi Menuhin Foundation in Spain, as part of the Mus-e program, art for coexistence. http://angelaperis.blogspot.com.es/

20.00h. The rape of Europa (2013 - ad infinitum), by Jesús Rubio Gamo.

Searching for a subjective-collective non-historical memory

Jesús Rubio Gamo aims at creating a meeting point in Madrid city with the goal of building a collective memory that is both subjective and emotional. A "memorial emotional and dramatic monument" would be created to be shared with others through samples of this very monument and additional activities (such as round tables and debates) revolving around this process.

Jesús Rubio Gamo (Madrid, 1982) holds a Master in Performing Arts and Visual Culture by Alcalá de Henares University and Reina Sofía National Museum, 2011-2012. He is a play-wright. Co-author of texts presented by the Sala Cuarta Pared, Madrid, in 2010 "White Night" event; guest choreographer, Spanish representative in Das 6 Tagen Rennen International Festival. Creation of a piece with residence in Pact-Zollverein, Essen. Shows in Madrid, Lucerne and Essen. German-Spanish-Swiss co-production, 2010.

http://www.jesusrubiogamo.com/

21.30h. Going nowhere together, by Pablo Esbert

Going nowhere together is performance that seems to be a concert, a ritual that seems to be a ballet solo, and a collective experience that seems to be a show. During two months I have invited other artists, friends, relatives and strangers to spend a day with me; a day to share physical and sound practice, to reflect and discover together going nowhere.
http://goingnowheretogether.wordpress.com/

Pablo Esbert Lilienfeld creates his own theatre and audiovisual works since 2005. He closely works with Alessandro Sciarroni and with other European choreographers. At the same time, he works as a musician and video-creator. He studied Audiovisual Communcation in Universidad Complutense, Contemporary Dance in RCPD and music in the Creative Music School.
www.pabloesbertlilienfeld.com

DIRECTED BY CARLOS MARTÍN

It is paradoxical that the books featuring selections from an art collection, collection books, become in turn collectable books, objects that sit on shelves in offices or adorn boardroom tables with the reassuring heft of the coffee table book. Does it make any sense to maintain a format that simply serves to add a coat of intellectual varnish to the culture of luxury? Does it make any sense to perpetuate its fetishistic, untouchable, priceless, reserved and illegible aura?

DIDDCC opens again as a space for study and research into the CA2M and ARCO collections and the development of critical strategies for working with and publicising them. This year, DIDDCC, with Carlos Martín at the helm, will question the various factors behind the publication of contemporary art collections, both public and private; will take a look at the canons and dogmas operating in this particular field; and will propose a space for research that can give rise to open proposals, issues and lines of work which can then be implemented in the upcoming publication of the CA2M and ARCO Collection, due for 2018.

Can a necessarily closed format be made compatible with an open-ended collection in constant growth? Are there any germane distinctions between a public collection and a published collection? Is it possible to write about a specific artistic proposal without, in the process, neutralising its potentials? Is it possible to conceive a radically open book? A collection must publish its contents and the interpretive keys to them, but, does it also have to publish its complex and often controversial origins and formation? These are some of the issues we wish to explore in DIDDCC, in which the confluence of collection and publication will activate various different vectors: research into and curating of the collection’s holdings, writing (style, codes, theoretical approach, potential public, issues of authorship), editing, registering and cataloguing of the artworks, graphic design and strategies for the diffusion of contents.

The participants will have access to the study of the collections, meetings with the staff at CA2M, with artists and other agents in today’s artworld in order to research the various aspects involved and to set out case studies. DIDDCC invites postgraduate, master and doctorate students in Art History, Fine Arts, Humanities and Communication to take part.

Confirmed guest participants:

David Armengol (Freelance curator).
Àlex Gifreu (Graphic designer. Best of European Design and Advertising 2016).
Lola Hinojosa (Head of Performative and Intermedia Arts Collection. Museo Reina Sofía).
Carolina Martínez and Clemente Bernad (Editorial Alkibla).
Rosario Peiró (Director of Collections. Museo Reina Sofía).
Sergio Rubira (Creator of DIDDCC and Deputy-director of Collections and Exhibitions at IVAM).
Isabel Salgado and Óscar Pina (‘La Caixa’ Collection).
Manuel Segade (Director of CA2M).

Enrolment from 15 January to 12 February. The list of selected participants will be announced on 16 February

Signalling a context before an extract is an action of configuration, an exercise in emergence. This dynamic validates propositions where actions, gestures and statements are read and recognised from the legibility facilitated by that which argumentative doxa calls “context”. However, the material condition of these same elements enables us to uncover other ways of speaking of a context. A novel that begins, like the title of Una novel que comienza the only book by Macedonio Fernández published while alive, is a statement of a beginning and conditions the movement of reading and the reception of a story. This plural and subjective narration throws light on various forms of partaking in a context. Diego Vecchio, Alejo Ponce de León, Karina Peisajovich, María Moreno and Pablo Schanton will rethink some of the “living materials” with which Argentinian art arrives at different works and positions. The sole intention of breaking down this stock of materials in first person is to share ideas about the keys to participation; fields of relationships in which art hinges around the idea of community, literature, music, the construction of the artist and the productive surplus value that emerges through affectivity.

PROGRAMME

16:00: Presentation by Mariano Mayer
16:30: Diego Vecchio
17:00: Alejo Ponce de León
17:30: Karina Peisajovich
18:00: María Moreno
18:30: Pablo Schanton

Curated by Mariano Mayer

Admission free

Images occupy a privileged position in the whole framework of fictions, gestures and actions that make up our daily reality. Deliberately arranged, manipulated and shared, they have become undisputed agents that operate beyond the territory that, since modernity, has been defined as aesthetic –and which the Art Institution has inherited. For its affective capacity, its maddening traffic, its connection with the bodies, this issue of Re-visiones not only invites to critically rethink the whole field that the digitalisation of the world has put into circulation, but also to put spatial and temporal strain on concepts that are today thought ‘undercommons’ with others that have concerned us in moments of struggle with the public sphere or the popular, all that broke out in the great hope of the ‘cultural revolution’. We welcome articles that prompt to think of the discontent that underlies the forms of culture required for any community yet to come.

Receipt of original texts: 1^st June 2017 (call closed)

The Convention on the Use of Space is a legal instrument drawn up in the Netherlands between March and May 2015 as a response to the housing crisis: the lack of affordable housing, the absence of provisions for the undocumented, rising rents, and the criminalization of squatting. The Convention considers space as a “good” that should not be privatised for profit or be left empty simply for speculative purposes and it lists the uses in which squatting should be protected, like providing free health services, sharing knowledge and skills, occupying space in protest, for housing purposes, running cooperative systems for wealth and labour distribution, providing mental and physical support, or the taking of space in order to protect it from environmental destruction.

In June and September 2016 we are organising a series of public meetings in various spaces in Móstoles and Madrid in which the Spanish chapter of the Convention will be prepared. Paying special attention to the historic genealogy of the issue of housing in Spain and the subsequent development of legislation, the meetings will feature keynote speakers and will encourage the public to take part in drafting this legislation from the perspective of different movements. A translated version of the Convention on the Use of Space will be read during the meetings, after which it will be discussed and modified in close collaboration with local groups of activists, legal experts, lawyers and the general public. The meetings will be open to the public and all those interested in issues related with the use of space. To receive more information on the Convention and on the times and venues of the meetings, join the mailing list on actividades.ca2m@madrid.org

Between April and May 2016, a number of meetings were held at Cuarto de Invitados to work on the convention and its translation. These meetings, which included a small group of participants, examined the ways in which the convention is expressed, the implications of the language used, and the issues involved in translating it. In addition, based on the material compiled during each meeting, there was a shared reflection on the various concerns raised by the document in question. The first meeting was held on 23 April at El Cuarto de Invitados (Calle Mesón de Paredes 42, 2ºA, Madrid) from 11:00 to 14:00 and from 16:00 to 18:00.

UPCOMING MEETINGS

WED 7 SEPT - ESKALERA KARAKOLA 19:00 - 22:00 (Calle de Embajadores, 52 Lavapiés, Madrid)
Article 12: If a space is occupied, how are the uses of that space decided?
In this session we will be taking a look at the Article dealing with issues of mediation and arbitration. If spaces are assigned in response to the principles agreed in the convention, how should they be assigned? How can disputes arising in these spaces be resolved?

The previous version of the convention underlined several questions and scenarios in relation with arbitration:

- If an empty space is occupied, how are the uses of this space decided?
- Are there uses in Spain that should be considered more important than others? Why?
- Are there successful experiences in assembly/collective decision-taking processes that can help to shape the structure for arbitration in relation to the convention?
- Or, should the convention be merely a document without rules for arbitration? If this were the case, how could conflicts be resolved?
- What are the possible effects of conflicts?

With the participation of:

Ana Méndez de Andés Aldama is an architect and city planner. She is currently an advisor to Madrid City Council’s Culture Department. As an architect and city planner she has worked on various landscape and urbanism projects in Amsterdam, London and Madrid and at different scales, ranging from general municipal plans to territorial strategies for the design of small urban public spaces. She has also taught city planning in Madrid and Shanghai, and has coordinated workshops and symposiums on issues such as urban commons, public spaces, strategic cartography and a radical democratic municipal project, at various universities and cultural institutes. She has taken part in research projects including Areaciega and Car-Tac, and is a member of the Observatorio Metropolitano in Madrid.

Lotta Tenhunen is an activist in the right to housing movement and a researcher.

Zuloark is an architectural infrastructure linked to the construction of open networks. Its goal is to respond to the necessity of evolving economic and entrepreneur models. Zuloark is a working platform defined as an area of proximity development, the interstitial space that exists between knowing how to do something and not knowing how to do it; it is the area where learning takes place, providing room for learning how to do something with help.

Jacobo García Fouz graduated with a degree in set design from RESAD in 2014 and produces new models and spaces for performance. He is one of the driving forces behind the community co-management project El Campo de Cebada, winner of many awards for the public space. He has created construction and design projects for stages for many theatre companies. He has also designed and built urban fixtures for different projects, collaborating with architecture and art collectives such as Zuloark.

THURS 15 SEPT - LA HIDRA 19:00 - 22:00 (Carrer de Sant Vicenç, 33 Sant Antoni, Barcelona)
Article 13: What kind of mutual support structures can guarantee the sustainability of networks?
The questions raised throughout the meeting have to do with the material maintenance of spaces, with caretaking and the possibility of generating support networks among signers of the convention. In this regard, how can we create a support network that will help to maintain housing/buildings, and how can we proportion mutual support for temporary housing? Buildings get run down if their users do not look after their maintenance, and in the majority of cases occupiers prolong the life of buildings. And while these repair and maintenance operations are normally carried out by the occupiers of the buildings, this excludes the possibility of these spaces housing people with different capacities, given the impossibility of carrying out repairs independently, and is this a problem?

Some of the questions raised:
- If the convention operates outside normative channels of external funding (bank, state or subventions), then how can the members avail of a safety net of some kind?
- What practices of sustainability/maintenance should be specified in the Convention?
- How should the mutual support be managed, what are the parameters for this support and how are they decided?

Rubén Martínez specializes in the relationship between social innovation practices, public policies and new community economies.Between 2002 and 2011 he was founder and co-director of YProductions, a company focused on the political economy of culture. He is co-author of books such as Producta50: una introducción a las relaciones entre economía y cultura (CASM, 2008), Innovación en cultura: una genealogía crítica de los usos del concepto (Traficantes de Sueños, 2009), Cultura Libre (Icaria, 2012) and Jóvenes, Internet y política (CRS, 2013). He has given papers at international symposiums and congresses on public politics and community management including Latin America Commons Deep Dive (Mexico City, 2012) and in European research groups like P2P Value and TRANSGOB. He is currently finalising his doctoral thesis on politics of social innovation at Instituto de Gobierno y Políticas Públicas (IGOP). He is also a member of Observatorio Metropolitano in Barcelona.

Manuela Zechner is a cultural activist and founder of the Future Archive project. She has a PhD in Precarity and Networks of Care in the European Crisis, from Queen Mary University of London; an MA in Visual Cultures from Goldsmiths University London, with a thesis on Subjectivity and Collectivity in Foucault and Simondon; and a BA in Fine Art Media from Chelsea College of Art. She works across relational methods (Theatre of the Oppressed, Somatics, Choreography, Writing), research methods (mapping, performative interview, co-research, militant research) and audiovisual production (radio, video). Her main projects are Future Archive (2005- ), Radical Collective Care Practices (2012- ) and the radio show The Sounds of Movement (2012- ) and Vocabulaboratories (2007-2009). She is active in various collectives, including the Nanopolitics group (2010- ), the Centre for Ethics and Politics (2011- ), the Kamion jounral (2014- ) and la Electrodoméstica (2014/15)

SAT 17 SEPT - CA2M, 11:00 - 18:00
GENERAL REVISION: A day for debating and editing the final draft of the document.

PROGRAMME OF PREVIOUS MEETINGS

7 JUN. PRIMER ENCUENTRO. CA2M
LA FORMA LEGAL
PREÁMBULO Y ARTÍCULO 1
En esta sesión se discutió acerca de la forma de la convención: ¿qué es una convención? ¿Cómo opera como documento? Además revisamos el preámbulo de la convención, sus fundamentos: ¿qué es lo que apoya esta convención? ¿Cuáles son sus principios? 

Durante esta reunión además nos centramos en el artículo primero de la convención: «Las partes de la convención». ¿Para quién es esta convención? Poniendo en relación con precedentes para este tipo de documentos como la carta de las Okupas británicas y qué es lo que se entiende por una legislación «desde abajo».

Contó con la presencia de:

Emilio Santiago Muíño. Doctor en Antropología Social. Miembro del Grupo de investigación transdisciplinar sobre transiciones socioecológicas. Fundador y activista del Instituto de Transición Rompe el Círculo. Autor de No es una estafa, es una crisis (de civilización) y Rutas sin Mapa (premio ensayo Catarata 2015).

Somateca es el nombre que agrupa a un conjunto de personas que están trabajando en torno a las prácticas crip-queer (taradas cuir) en Madrid. Desde su investigación abordan asuntos como la diversidad funcional y sexual, el cuerpo, la normatividad, los feminismos, los afectos o los deseos son algunos de los temas que vertebran el trabajo de esta constelación de personas y sobre los que investigan en diferentes proyectos que toman la forma de reflexión teórica, creación artística o acción performativa entre otras. El grupo Somateca surgió como resultado del programa de Estudios Avanzados en Prácticas críticas del Museo Reina Sofía, dirigido por Paul B. Preciado.

Eduardo Gómez Cuadrado. Licenciado en Derecho por la Universidad de Valladolid, con un Máster en Práctica Jurídica por la Universidad de Salamanca. Socio fundador de Red Jurídica Cooperativa. Abogado especializado en Derecho Penal. Trabajo en el Turno de Oficio Penal, Menores y Audiencia Nacional y en elServicio de Orientación Jurídica General del Colegio de Abogados de Madrid. Miembro de la Asociación Libre de Abogadas y Abogados (ALA), en la Comisión Defensa de la Defensa.

14 JUN. SEGUNDO ENCUENTRO. ROMPE EL CÍRCULO.
EL DERECHO A LA CIUDAD
ARTÍCULO 4
Esta sesión estuvo orientada hacia el «derecho a la ciudad» y la cuestión de la crisis de las hipotecas. ¿Cómo sería un derecho a la vivienda/ a la ciudad en España? Reescribiendo el artículo de la convención esta reunión se centró en la criminalización de las prácticas especuladoras relacionadas con la vivienda. Por ejemplo ¿cuál ha sido el impacto del Estatuto de la ciudad que ha establecido en Brasil el derecho a la ciudad? ¿Cómo podría ser una ciudad libre de una legislación hipotecaria represiva?

Contó con la presencia de:

Alberto Astudillo García, reportero gráfico especializado en fotografía social, participa también en la creación del documental La Cañada Real; Otra mirada (2012). Licenciado en Ciencia Política por la Universidad Complutense de Madrid, completa su formación académica con estudios de Antropología en la misma Universidad. Miembro activista en el sector de la vivienda desde 2007, en la actualidad es concejal del grupo en la oposición Ganar Móstoles.

Eva Álvarez de Andrés, cuya trayectoria ha estado orientada hacia el objetivo de hacer efectivo el derecho a la vivienda y a la ciudad para todas las personas. Inicia Arquitectura y Urbanismo en 1989, fue socia fundadora de la ONG Ingeniería Sin Fronteras en 1991 y trabajó en el Instituto de Estudios Políticos para América Latina y África (IEPALA) al terminar la carrera. Movida por el deseo de conocer in-situ la realidad de quienes ven sistemáticamente vulnerado su derecho a la vivienda y a la ciudad en los países más pobres residió República del Benin entre 1999 y 2003, tras lo cual volvió a España para iniciar estudios de doctorado en el Departamento de Urbanística y Ordenación del Territorio (DUyOT–ETSAM–UPM), con el objetivo de profundizar en las causas de la exclusión habitacional y estudiar posibles alternativas. Desde finales de 2013 y hasta la actualidad ocupa una plaza de personal laboral en la Universidad Rey Juan Carlos. A lo largo de toda la etapa investigadora (desde 2003) he realizado varias publicaciones, todas en la línea del derecho a la vivienda y a la ciudad; desde 2010 hasta 2014 ha sido coordinadora de la Red Internacional de Estudios Urbanos sobre Ciudades del Sur (N-AERUS), y miembro del Grupo de Investigación Arquitectura, Urbanismo y Sostenibilidad (GIAU+S).

21 JUN. TERCER ENCUENTRO. TRAFICANTES DE SUEÑOS.
¿QUIÉN DECIDE LOS COMUNES?
ARTÍCULO 3
¿Quién define los procomunes? ¿Cómo se definen los bienes comunes? En este encuentro se abordó uno de los aspectos fundamentales de la convención: el valor de uso del espacio. Si pensamos en una ciudad libre de la especulación de la propiedad privada y abierta a las posibilidades de la toma colectiva de espacios ¿cómo podemos hacer estas demandas evidentes? ¿Qué sucedería si el espacio tuviese valor no tanto por su capacidad de generar beneficio como por su uso? ¿Qué sucedería si su uso fuese protegido?

Contó con la presencia de:

Miguel A. Martínez es profesor de sociología y ha participado en varios movimiento sociales. Sus publicaciones se han centrado, sobre todo, en temas urbanos y en el movimiento de okupaciones, tanto en España como en Europa. Es miembro de la red de investigación-activista SqEK (Squatting Europe Kollective).

Alejandra de Diego de Qiteria, entidad cooperativa que se rige bajo los principios de la economía social, formada por un equipo interdisciplinar de profesionales de las ciencias sociales, con amplia experiencia en investigación cualitativa y cuantitativa e intervención social, incluyendo el ciclo completo del proyecto: ideación, diseño, implementación y evaluación. Alejandra de Diego es licenciada en Antropología Social y Cultural por la Universidad Autónoma de Madrid con especialidad en análisis y diseño social urbano así como en el diseño y desarrollo de procesos participativos. Con experiencia en investigación e intervención social. Es socia fundadora y ha formado parte de la cooperativa de investigación social aplicada QITERIA donde ha participado en numerosos proyectos diseñando, desarrollando y evaluando procesos de investigación e intervención social en diversas áreas: migraciones (MENARA), prácticas cooperativas ciudadanas (COOPERLAND), alfabetización digital (PADIMM), diseño social urbano (DREAMHAMAR). Actualmente está en Medialab-Prado como coordinadora de Inteligencia Colectiva en el Laboratorio de Innovación Ciudadana investigando sobre herramientas digitales para la democracia y su aplicación en el territorio.

29 JUN. CUARTO ENCUENTRO. SOLAR ANTONIO GRILO
CRIMINALIZACIÓN DEL USO DEL ESPACIO
ARTÍCULO 2
¿Quién ha sido criminalizado y cómo ha sido afectado el uso de espacio privado/público después del 15M? A través del análisis de la ley Mordaza, sus precedentes y consecuencias reformulamos el artículo 2 de la Convención sobre el uso del espacio.

Contó con la presencia de:

Juan Carlos Mohr. Formado en Bellas Artes, en los últimos años viene desarrollando un trabajo dentro del activismo de la imagen que lo ha situado en el centro de los principales acontecimientos de los últimos años: del 15M y el movimiento de ocupación de las plazas, al movimiento antidesahucios o a la crisis de los refugiados en Lesbos y Hungría. Lejos de trabajar dentro de la lógica del fotoperiodismo ortodoxo, las imágenes de Juan Carlos Mohr dirigen una mirada políticamente situada sobre los acontecimientos, poniendo su objetivo en los lugares que habitualmente quedan invisibles para los medios hegemónicos. Para Juan Carlos Mohr además las imágenes son bienes comunes, por ello están a disposición de quien quiera usarlas bajo licencias creative commons.  Twitter, Facebook y las redes sociales son espacios de expresión y difusión de su pensamiento y trabajo.

La Plataforma ‘No Somos Delito’, formada por más de 100 organizaciones de activistas, juristas, y ciudadanía, nace con el ánimo de informar acerca del significado de la Reforma del Código Penal y Ley de Seguridad Ciudadana.  Somos una plataforma apartidista y realizamos presión institucional para que estas reformas no se aprueben, a través de todos los caminos democráticos habilitados para ello.

«Somos vecinos y vecinas. Somos ciudadanos que sueñan con una sociedad más solidaria, empática, consciente, activa y fuerte. Somos un grupo de personas unidas en contra de la reforma del Código Penal, la Ley de Seguridad Ciudadana y la Ley de Seguridad Privada».

No Somos Delito lleva más de un año denunciando la gravedad de estas reformas con las cuales se construye una justica para ricos y otra para pobres.

Más información en actividades.ca2m@madrid.org

Este proyecto fue desarrollado en conjunto con Beirut, en El Cairo y Casco, Oficina de Arte, Diseño y Teoría de Utrecht. La segunda fase del proyecto se realizá en el CA2M.

Aimed at artists, Fine Arts students, and at anyone interested in Jeremy Deller's work.

The meeting / workshop will be run in English.

Registration is open up until the 21st of April. Download the form and send it to actividades.ca2m@madrid.org.

Jeremy Deller approaches signs, images, lifestyles and objects in order to reflect on the mechanisms and the culture that define our current post-industrial society. With a background in Art History, his methodology is not so much defined by a specific artistic procedure, but by turning observation, research and critique into his tools, premised on his curiosity.

Coinciding with the exhibition "The Infinitely Variable Ideal of the Popular", Jeremy Deller proposes a workshop/meeting where to establish a dialogue and exchange impressions on his work and his methodology, as well as to open up a space for the discussion and exchange of criteria among the participants. The artist will also lead a visit to the exhibition, as well as to the piece Sacrilege, set up at El Soto park, in Móstoles.

Jeremy Deller (London, 1966) lives and works in London. He studied Art History at the Courtauld Institute of Art, University of London. He won the Turner Prize in 2004, and in 2010 he was awarded the Albert Medal by the Royal Society of the Arts. Even though he works with a variety of media, such as video, sculpture, and visual art, his work has had an emphasis on collaborative projects, re-enactments and public art, on the basis of which he poses a reflection on post-industrial English popular culture.

Some of his most relevant projects include: Acid Brass (1997), Folk Archive (since 1999) in collaboration with Alan Kane, The Battle of Orgreave (2001), Procession (2009), and Sacrilege (2012), among others. Some of his most notable exhibitions are: English Magic for the British Pavilion at the 55th Venice Biennale (2013), the retrospective Joy in People, Hayward Gallery (2012), Carte Blanche à Jeremy Deller, Palais de Tokyo, París (2008). In a similar manner, he has developed some notable curatorial projects: All That Is Solid Melts Into Air (2013), The Bruce Lacey Experience (2012), and British Council Collection: My Yard (2009), among others. 

Presentation of Lucas Platero’s Por un chato de vino, a story of transvestism and feminine masculinity in which the writer invites us to discover a lost history in which he intertwines his experiences with those of María Elena and couples them with images by Eva Garrido. It is hard to classify this book because it situates itself on the boundaries, because it is odd and because it speaks about what is silenced. During the presentation we will read extracts from the book and discuss some of the issues raised.

Lucas Platero has been active in the feminist and queer movement since the 1990s, and at once seriously involved in research into non-normative sexuality. He has a PhD in Sociology and Political Science from UNED and lectures in socio-community intervention. Recent publications include Intersecciones. Cuerpos y sexualidades en la encrucijada (Bellaterra, 2012) and Trans*exualidades. Acompañamiento, factores de salud y recursos educativos (Bellaterra, 2014).

Eva Garrido works on artistic, educational and research projects from a feminist perspective within Colektivof, a collective formed with Yera Moreno. After graduating with a BA in Fine Art she has explored various fields such as artistic and industrial design, set design and drawing.

What happens if one day while out for a few drinks the Guardia Civil take you to the barracks? M.E. is trying to get by on the streets of Barcelona in the late sixties, sometimes donating blood, other times accepting charity or hand-outs from her friends. Until one ill-fated day she stumbles across some guardias civiles who discover the curves under her men’s clothing. The barracks, the prison and the hospital are spaces of discipline to which we must submit. All we know is what the doctors, police and judges declare in examinations or questionings, recorded in a few sheets of paper forgotten in some archive. What is most terrifying is not what is said but what can be easily imagined. M.E.’s masculinity was impossible for them to accept, declaring her desire for woman to be pathological and criminal, but also uncontrollable and therefore meriting punishment and imprisonment. Almost involuntarily, M.E. infringes the moral order of Franco’s regime which, while then on the wane, still harshly repressed anyone who dared to publicly challenge its dictates. Sparked off by “public scandal”, repression was vented particularly on all those whose sexuality and gender expression overstepped the limits of “decency”, binary gender roles and obligatory heterosexuality. This story still reverberates today, at a time which prides itself on its sexual rights, but in which these discontinuities with more normative expressions of gender are still signalled as evidence of pathologies which must be diagnosed in order gain access to a handful of incomplete rights.

http://www.ed-bellaterra.com/php/llibresInfo.php?idLlibre=108

Images occupy a privileged position in the whole framework of fictions, gestures and actions that make up our daily reality. Deliberately arranged, manipulated and shared, they have become undisputed agents that operate beyond the territory that, since modernity, has been defined as aesthetic –and which the Art Institution has inherited. For its affective capacity, its maddening traffic, its connection with the bodies, this issue of Re-visiones not only invites to critically rethink the whole field that the digitalisation of the world has put into circulation, but also to put spatial and temporal strain on concepts that are today thought ‘undercommons’ with others that have concerned us in moments of struggle with the public sphere or the popular, all that broke out in the great hope of the ‘cultural revolution’. We welcome articles that prompt to think of the discontent that underlies the forms of culture required for any community yet to come.

Acces to magazine

Organised by: Instituto de Transición Rompe el Círculo

Offices: Rompe el círculo (Plaza del Turia, 2, Móstoles), EnRedArte (Francisco Javier Sauquillo, 3) and CA2M

Free entrance

There is an incipient need to speak in terms of a crisis of civilization. The multi-faceted nature of the current-day social turbulence exceeds all partial categorizations. And it does so under all of the different banners that have become so widespread in the journalist, academic or political discourse: economic, financial, energy, environmental, food, dietary and care crises, to mention but a few. There are so many open fronts that it is no longer possible to interpret the situation within the habitual parameters of the economic cycles, and all the signs would appear to indicate that we are facing the bankruptcy of the capitalist civilizing model. That is, a departure from this civilization model in which its characteristics (dominance of the fetishist social manners; merchandise, value, abstract work and money) render it unique compared to other social forms from former times and other places.

Phenomena such as climate change, the energy decline, the depletion of strategic minerals or the suffocation of the capitalist accumulation process itself, all forewarn that the world as we know it is on the verge of an unprecedented change. In this context, the socio-economic elites are taking positions with a view to maintaining the predominant status quo at the cost of increasing exploitation, suppressing social and political rights, and focusing on an environmentally suicidal forward-moving escape. Citizens in general, and the social movements in particular, are faced with a dual task: to resist the pressure of the ruling classes and to find the capacity to build emancipating societal alternatives in a world obliged to decelerate.

This education cycle aspires to being a meeting point for the southern area of Madrid, revolving around two main objectives: on the one hand, to lay the foundations for a correct diagnosis of the present moment in time and its economic, social and political implications; and on the other, to raise awareness and collectively debate various experiences centered on the construction of alternatives to set in motion a process of transition to a post-capitalist world.

PROGRAM

SATURDAY 11 JAN. 18:00 IN ROMPE EL CÍRCULO

What is capitalism?  Unravelling the commodity-based civilisation

Instituto de Transición Rompe el Círculo

Although the capitalist reality awakens opposition and resistance wherever it takes root, comprehension of the same remains an unsolved issue for those of us fighting against it. Capitalism is a highly slippery term, that combines an exuberant polysemy that is very generally used, rarely considered problematic and which, in the majority of cases, feeds off a misinterpretation: Engels’ deformation of Marx’s thinking, which was subsequently popularized by Leninism. The role played by this error in the defeat of the anti-capitalist approaches should not be underrated. Using the readings of Marx that have emerged in recent decades (Heinrich, Kurz, Postone), the aim of this talk is to offer a straightforward, collective and accessible analysis of the fundamental characteristics of the capitalist social formation. Its objective is to help clarify  the horizon of an anti-capitalist project, thus placing the common sense of the popular struggles on the same wavelength as the reality of the enemy they face.

The Instituto de Transición Rompe el Círculo is a group which has been working since 2008  to build alternatives  in pursuit of a post-capitalist and post oil-peak transition in the Southern Madrid area.

SUNDAY 19 JAN. 18:00 IN ROMPE EL CÍRCULO

Crisis or decline of the capitalist model? On the internal limits of capital accumulation

Jordi Maiso

In the years following the «end of an era» as constituted by the year 1989, criticism of the Marx-style economic policy was considered a closed chapter in the history of thought, and to obstinately persist in criticizing capitalism seemed typical of those determined to ignore the new sign of the times. They were the euphoric «end of history» and «end of ideologies» years, and the imposition of the market economy on a global scale foretold the materialization of a One World system that would overcome the divisions between blocks and open up an era of world-wide prosperity. Two decades later, these expectations have proven themselves false. Following a brief period of prosperity on credit, with feet of clay, globalised capitalism has left in its wake a scene of new inequalities, poverty of the masses, a population increase that cannot be integrated into the production system and a chain of financial bubbles that, from 2008 on, culminated in a global crisis. In the face of this scenario, Marx  appears to be more than a mere specter, and his analysis of capitalism awakens an interest level that goes beyond the strictly academic. The imperative question in light of the global crisis situation is whether this is a temporary phenomenon or the beginnings of the capitalist socialization model decline, which had reached its inner limits and is now entering a phase of decomposition.

Jordi Maiso is a doctor of philosophy, linked to the Human and Social Sciences Centre (CCHS) of the Spanish National Research Council (CSIC). His most important lines of work are: Critical Theory; philosophy following Auschwitz; forms of socialization in advanced capitalism; ethical-political challenges of synthetic biology.

THURSDAY 23 JAN. 19:00 IN CA2M

Growth limits I: the energy decline

Antonio Turiel

Since 2005, crude oil production has been gently dropping yet it now appears to be undergoing an acceleration. This fundamental historical occurrence has gone unnoticed amidst the media fanfare about new hydrocarbon sources, from biofuels to fracking, and even including the oil sands of Canada, in an attempt to disguise the fact that these substitutes are neither as versatile as crude oil nor offer such a good energy and economic yield. This crucial fact has been silenced in the media. The rare occasions on which it is mentioned, it is as «the end of cheap oil», without explaining that it was precisely cheap oil that made the expansion of capitalism possible in the first place, and that the lack of the same may give rise to the collapse of this economic system, and in turn, of our society. The entire energy debate is distorted, given that the non-renewable options (whether coal, natural gas or uranium) are also close to their zenith, while the renewable sources have so many limitations, always ignored, that they could never provide the vast amounts of energy currently enjoyed.

The end of the expansive cycle of energy availability and its inevitable contraction does not necessarily imply the end of modern society, and far less so the collapse and extinction of the same, but it does give rise to the end of growth −growth of the population, of the GDP, of trade, of capital− and therefore the end of the capitalist system. Such a possibility is unacceptable from a political perspective, and therefore an ideological response is given (in the shape of denial and cover-ups) to what is a simple matter of logic (the limits of the planet and of the human being). The progress discourse has introduced the myth of the homo invictus into the collective psyche, of man capable of overcoming any obstacles faced, even when to do so the fundamental laws of nature must be broken. Nowadays, to point out limits and impossibilities is considered reactionary and obscene, even when using a scientific argument.

The objective of this lecture is to rationally discuss why the energy decline is inevitable, as well as widely known, and why this will lead to the end of growth. There will also be a brief discussion of the implications of this historic moment.

Antonio Turiel is a doctor of physics and member of the Marine Sciences Institute of the Spanish National Research Council (CSIC). For years, he has been responsible for the fundamental task of raising awareness about the energy problem faced by modern societies. His blog The oil crash has become a point of reference for anyone interested in the 21st century energy decline.

SATURDAY 25 JAN. 18:00 IN ROMPE EL CÍRCULOç

The Internet and new technologies: liberation or submission?

Cul de Sac

To review the new technologies, we must first position them within the framework of a broader reflection on technique. To oppose technique in its entirety makes no sense as it alludes to all relations between the human being and their environment. Our approach is as follows: what level of technical development is possible and desirable in a truly free, horizontal and completely oppression-free society? We believe that «technology» born of the application of science to technique in the context of industrialisation has led to more alienation and submission than progress, and it is our opinion that the Information and Communication Technologies are nothing more than another step on the journey towards the artificialisation of the our living conditions which remove us, even further if possible, from the possibilities of living a life worth living.

Cul de Sac is a critical thinking publication focused on injecting new life into the reflection on the old «social question». Following a line close to that of authors critical of the technical phenomenon, its first issues contained excellent monographic editions on the idea of Progress and the current role of the Information Technologies.

SATURDAY 15 FEB. 18:00 IN ROMPE EL CÍRCULO

Collective consumption as a tool for change

Carmen Madorrán

The space for hope is open, as each day more and more initiatives call for responsible and fair consumption, a conscientious and transforming, collective and sustainable consumption. From the cooperatives and consumer groups, time banks, exchange groups, community vegetable gardens or energy cooperatives, among others; to the exchanges of homes, cars, clothes or resources: work tools, work space, etcetera. In short, we suggest considering this proposal of collective and responsible consumption within a process of global change, within a sort of «transition» towards a different model of both life and consumption, both an energy and a production model which will lead to a change in the group comprehension, in the way humans relate to the rest of the living beings and to the planet.

Carmen Madorrán is a philosopher and researcher with the Universidad Autónoma de Madrid. She is co-author of a number of books on the socio-ecologic crisis published by Akal, Icaria and Los Libros de la Catarata.

THURSDAY 20 FEB 19:00 IN CA2M

Correlations between the economic crisis and the ecological crisis

Joaquim Sempere

Capitalism, and its situations of over-accumulation that result in speculative phenomena that are utterly destructive of economic life -associated with social inequalities-, is, for this very reason, destined to generate social unrest and chaos. The severity of this perspective will become more pronounced with the growth of the ecological crisis, the first massive sign of which will undoubtedly be the depletion of the fossil and nuclear resources. The current deregulated capitalism is the least appropriate system to preventively deal with this phenomenon (through the passage from an energy model based on renewables and a reduction of production and consumption), and it is headed for a worsening of the chaos and social injustices.

Joaquim Sempere is a doctor of philosophy, translator, anti-Francoist activist, columnist of the newspaper, Público, and professor emeritus of sociology at the University of Barcelona. He is currently working, among other things, on the convergence between the ecological and the economic crisis. Along these lines, he published the essay, El fin del petróleo barato, in 2008.

THURSDAY 27 FEB. 19:00 IN CA2M

Urban development and the socio-ecological crisis

Pilar Vega

This lecture will explain how the productive, territorial and transport model has transformed the ecosystems. Its impact on urban settings has materialized in an extension of  suburbanization, the vulgarization of the landscape and the artificiality of the space. Yet it has also caused a pillaging of the resources needed for the functioning of cities in other ecosystems. These impacts equally affect the power relationships. Productive, rehabilitated, renewed, ordered and integrated cities that expel the undesirables of the model towards the outskirts. Unbalanced, unfair, violent, and therefore unsustainable, cities. To conclude, the possible reconstruction of the model departing from a territory and a society in crisis.

Pilar Vega is professor of Human Geography at the Universidad Complutense. Her field of activity revolves around territorial and environmental planning, as she is a specialist in transport. She has worked on the Strategic Infrastructures and Transport Plan (PEIT) and the Green Paper on Accessibility in Spain.

THURSDAY 13 MAR. 19:00 IN CA2M

Who decides what we eat? Agroindustry versus food sovereignty

Esther Vivas

Who moves the strings of the agricultural and food system? Who determines what we buy, what price we pay, how what we eat has been produced? At present, each section of the food chain, from the fields to the plate, is in the hands of a small number of agroindustry multinationals, who give precedence to their individual interests rather than our collective needs. Food sovereignty is put forward as an alternative to this model.

Esther Vivas, a journalism graduate, she also has a Master's Degree in sociology, is an activist and researcher of social movements as well as food and agriculture policies. The author of various books on these areas, she forms part of the Centre d’Estudis sobre Moviments Socials (CEMS) at the Universidad Pompeu Fabra.

SATURDAY 23 MAR. 18:00 IN ROMPE EL CÍRCULO

Genetically Modified crops in the Spanish State + presentation of the book La invasión molecular (CAE)

Blanca Ruibal and Emilio Santiago (prolog writer of the book)

This lecture will be divided into two blocks. In one part, we will approach the reality of the Genetically Modified crops and how widespread they are in the agrofood market of our country, analyzing the political, social and ecological problems entailed in this controversial technology, as well as the vested interests behind it. In the second part, we will take advantage of the presentation of the book, La invasión molecular to talk about the various ways of fighting against the genetically modified organisms.

Organised with GAK Rompe el Círculo

Blanca Ruibal is an ecological activist and manager of the Agriculture and Food division of the NGO, Amigos de la Tierra. Critical Art Ensemble (CAE) was a group that emerged from the intersection between art and political activism. Her book, La invasión molecular, delves deeply into the political and social implications of the biotechnologies based on genetic engineering.

SATURDAY 29 MAR. 18:00 IN ROMPE EL CÍRCULO

The organic food market

Cristina de Benito

This lecture will deal with the process of institutionalizing agro-ecology and the creation of the organic industry, offering data on the market and regulations both in Spain and on an international level. It will then go on to analyse the tensions that emerge in this respect due to the movements attempting to make agro-ecology a form of social transformation, but taking into account the logic the organic farmers are subjected to and the market need for the social reproduction of these projects.

Cristina de Benito is an anthropologist and researcher at the Universidad Autónoma de Madrid. She is writing her doctoral thesis on the transforming potential and contradictions inherent to organic food.

SATURDAY 5 APR. 18:00 IN ENREDARTE

The geopolitics of energy

José María Iniesta

The tumultuous world-wide geopolitical re-planning is determined by the race to monopolize the natural resources, particularly those revolving around energy, with historically unheard of competition levels. This lecture will attempt to shed some light on the current process of decline of the North American supremacy, the rise of China and the role of the rest of the world players, in a context marked by a growing and irreversible scarcity of raw materials which will tend to increase global tension and armed conflicts.

José María Iniesta has a degree in Political Science and is an activist of the Instituto de Transición Rompe el Círculo.

SATURDAY 26 APR. 18:00 H IN ROMPE EL CÍRCULO

Growth limits II: Climate change and the depletion of materials 

Jorge Riechmann
At present, the carbon dioxide and methane emission levels are similar to those of the «Ecocene Hothouse», 55 million years ago, when the temperature rose by an average of  5º in the tropics and 8º in the warm latitudes, and the planet took 200,000 years to recover a certain degree of climatic balance. And in the space of one century, the industrial societies have degraded a significant part of the base reserves of non-energy minerals. All of this would indicate that we have gone beyond the point of no return, in ecological-social terms. Is sustainability still possible?

Jorge Riechmann is a doctor of Political Sciences and professor of moral philosophy at the Universidad Autónoma de Madrid. Poet, essayist, translator, activist of Ecologistas en Acción and Izquierda Anticapitalista, he is one of the key figures in the Spanish language eco-socialist thinking.

SATURDAY 10 MAY 18:00 IN ROMPE EL CÍRCULOç

Experiences based on the neo-rural (round table)

Duarte Artabe, Javier de Miguel, Álvaro Sanz and Alfonso Serrano

The return to the fields is a recurrent theme in debates on sustainability and a transformation strategy ever more deeply rooted in the social movements. Following a general overview of this historical social process, in which we will ask ourselves what all these initiatives have in common to be considered a unit, a round table will take us close to the various neo-rural practices from the perspective of their protagonists' experiences.

Duarte Artabe is a farmer, and entrepreneueur of the neo-rural project, Pumido ao Natural in the area of Ferrolterra (Galicia). Javier de Miguel is a member of a neo-rural community in El Berrueco. Álvaro Sanz is a shepherd and libertarian activist on the hillside of Somosierra. Alfonso Serrano is the director and editor of the publishing house, La Oveja Roja and has lived in Comminges, a village of St Bernard (Midi Pyrenees) for 5 years, and a year in a village to the north of Bastia (Corsica).

THURSDAY 22 MAY 19:00 IN CA2M

Preparing the energy decline: a roadmap

Lino Blanco, member of the Asociación Véspera de Nada por una Galiza sen petróleo

The Oil Peak represents the physical impossibility of continuing with the current civilization model. Industrialism, capitalism and perpetual growth are unfeasible from the moment in which this crucial yet non-renewable raw material no longer supplies the ever-increasing energy amounts required. The Guía para o descenso enerxético recently published in Galicia, aims to offer criteria to allow the actual citizens to urgently and decisively adapt in the face of this unprecedented panorama in the history of mankind.

The field of application of this guide should not be exclusively restricted to Galicia, even if it has been developed by and for Galicia. All the alternatives to obtain, generate, distribute and consume energy are applicable to any territory. The priorities the available energy should be concentrated on, whether to obtain food or to ensure the safety of a limited few, will determine the time before violence becomes widespread. The choice between a society dominated by warlords and a charitable society, will be determined by access to energy. The availability of energy, its production and consumption will mean that "power" be imposed by a minority rather than a majority.

The association, Véspera de Nada por unha Galiza sen petróleo, is a group from Galicia which has been working for six years to raise awareness of the oil peak problem and towards the organization of alternatives to deal with this energy decline.

SATURDAY 31 MAY 18:00. PUBLIC SPACE TO BE CONFIRMED

Anti-capitalist ways out of the crisis: Growth as a solution or as a problem?

Oscar Carpintero and Juan Pablo Mateo Tomé

Capitalism is in the grip of a heartrending contradiction: if it does not grow then it does not work, and if it continues to grow it will destroy the natural foundations that make it possible. In this talk-debate, we aim to establish a dialogue to find potential ways out of the crisis from an anti-capitalist perspective, with the controversial issue of economic growth as the centre of gravity. On this issue and from the protest movements, occasionally contradictory messages are launched. The debate generated around grants to the mining sector is one example of these contradictions. It is essential to find a common ground that enables us to combine the forced decline imposed on us by the material context of our times with the immediate survival needs of the popular classes.

Oscar Carpintero is a doctor of economics and professor of Applied Economy at the Universidad de Valladolid. An ecological economist, he has been a member of the International Society for Ecological Economics (ISEE) for years, and is also a member of the CIMA (Scientists for the Environment).

Juan Pablo Mateo Tomé is a doctor of economics and has been a professor at the Universidad Pontificia de Comillas. Positioned within the Marxist economy, he is co-author of the works, Ajuste y salario: las consecuencias del neoliberalismo en América Latinay Estados Unidos and Las finanzas y la crisis del euro. Colapso de la eurozona.

SUNDAY 8 JUNE, FROM 12:00 IN ROMPE EL CÍRCULO

Post-capitalist economic alternatives: self-management and cooperativism

12:00 Mapping of the cooperativist movement. Jorge Navacerrada 14:00 Popular lunch 15.30 Presentation of the local social currency 17.00 Cooperativism and self-management: presentation of the book La autogestión viva, by José Luis Carretero (ICEA); 19:00 The Integral Catalonian Cooperative: lessons from an experience, by Enric Durán –via Skype. 21.00 Celebrations

Cooperatives, self-employment, self-management, social economy... these terms are more and more in vogue and reflect a change in the way we understand the social struggles. An idea that is on everybody's mind: in a chronic crisis context we cannot solely focus on defending the job. In the same way we have occupied the squares, the time has now come to move on to the offensive and take over production. The aim of today is to provide a space of convergences in which to think and discover new modes of production which will serve as tools to generate a different socialization model, based on economic cooperation, that will allow us to build everyday post-capitalist realities.

Jorge Navacerrada is a member of the cooperative, Altekio Iniciativas hacia la Sostenibilidad, a cooperative project created to intervene in the fields of the environment, community development and the social economy. Jorge will outline, based on first-hand knowledge, a map of the cooperative movement at the current time, with its strengths and its weaknesses.

Jose Luis Carretero is a teacher, writer, lover of critical thinking and member of the ICEA (Institute of the Economic Sciences and Self-Management). His talk will focus on the self-managed cooperativist movement and its possibilities with a view to social emancipation, which he will deal with through the presentation of his book La autogestión viva. Proyectos y experiencias de la otra economía al calor de la crisis.

Enric Durán became known in the year 2008 for the expropriation of almost half a million euro from banking entities, money which was used to finance various social causes. In his talk, he will go over the experience of the Cooperativa Integral Catalana, a benchmark project in the state post-capitalist initiatives, touching on both its achievements and, above all, its problems and pending challenges.  
Furthermore, on this occasion we will also enjoy the presentation of various social currency projects to be confirmed.

SATURDAY 14 JUNE 18:00 IN ROMPE EL CÍRCULO

The sky beneath the rubble: the anti-capitalist strategies under debate

José Manuel Rojo (Grupo Surrealista de Madrid) and Emilio Santiago (Instituto de Transición Rompe el Círculo and GSM)

With the presentation of the essay, El cielo bajo los escombros, by both of its authors, we wish to create a debate on the strategic possibilities of the anti-capitalist movements in the context of the crisis of civilization we are currently immersed in:

«The revolution project, as it was understood by the classic worker's movement, cannot survive the end of the material and energy abundance that inspired it. The historic spoils of the development of the productive forces have been lost. And will never return. Any social emancipation horizon we wish to head towards will demand, as a primary condition, an emergency landing. To save ourselves from this great leap, promoted by the myth of progress which has proven a failure. To rethink the fundamental lines of the emancipation of our times requires us to depart from the following certainty: the sky can no longer be taken by assault; in the XXI Century, the sky will be cultivated beneath the rubble».

José Manuel Rojo is an historian and a member of the Grupo Surrealista de Madrid since 1987, while also collaborating with various publications by the publishing house, Pepitas de Calabaza. He is the author of some of the most acute analyses of the anti-capitalist social criticism of recent years.

Emilio Santiago is a social anthropologist and researcher of the Universidad Autónoma de Madrid, an activist of the Instituto de Transición Rompe el Círculo and a member of the Grupo Surrealista de Madrid. He researches the societal transitions from a perspective in which Marxist criticism, libertarian thinking, political ecology and surrealism converge.

Program subject to modifications, changes, contingencies and various matters to be confirmed

www.rompeelcirculo.org
mostolessinpetroleo.blogspot.com

Coordination: Juan Albarrán and Iñaki Estella / CA2M / Department of the History and Theory of Art -UAM

The purpose of this seminar is to compare some of the studies of the practice and theory of performance conducted in Spain in recent years form a dialogue-based and inclusive perspective. The event is aimed at educators, researchers and students working in the field of art history, aesthetics and theatre studies, as well as artists and professionals who work in the contemporary art context. The activity consists of two round tables at which six specialists will share research approached from very diverse platforms and disciplinary traditions, ranging from feminism to curatorial studies, as well as the theory of theatre and the history of art. All of this with a view to revealing the wealth of debate  generated around performance at a time in which it is beginning to occupy a central role in both museum and art centre programs, and in the trends towards methodological renewal of both art history and other similar fields.

PROGRAM

THURSDAY 24 APR

16.30-18.30
Round table: “Performance: curatorial discussions and tales”. Lola Hinojosa (Reina Sofía Museum), Patricia Mayayo (UAM), Ferran Barenblit (CA2M). Moderator: Iñaki Estella (UAM)

18.30-19.00
Break

19.00-21.00
Round table: “Performance and meditation”. Judit Vidiella (Universidad de Évora), Óscar Cornago (CCHS-CSIC), Gabriel Villota (UPV/EHU). Moderator: Juan Albarrán (UAM)

With the collaboration of:

Department of the History and Theory of Art, UAM

Vice-chancellorship of University Cooperation and Expansion, UAM

Junior Dean of students and cultural activities- Faculty of Arts and Philosophy, UAM

SPEAKERS

Juan Albarrán is a doctor of the History of Art from the University of Salamanca. He has been an associate professor of the Faculty of Fine Arts of Cuenca (UCLM) and, between 2009 and 2012, he formed part of the editorial team of Brumaria. At present, he teaches at the Duke Center for Hispanic Studies (Duke University, Madrid) and is Associate Professor of the Department of the History and Theory of Art at the Universidad Autónoma de Madrid. His research has reveolved around Spanish art in recent decades. In this area, he has coordinated the collective volume Arte y transición (2012).

Ferrán Barenblit is the director of CA2M in the Madrid Region, a space that has housed exhibitions of the ilk of Bestué / Vives, Leopold Kessler, Cristina Lucas, Guy Ben Ner, Estación Experimental, Sonic Youth Sensational Fix, to mention but a few. He was formerly the director of the Centre d’Art Santa Mònica de Barcelona and curated various exhibition cycles in Espacio 13 of the Fundació Joan Miró. He has also worked at The New Museum of Contemporary Art in Nueva York. He has given seminars and conferences on curatorial practices in numerous museums and universities all over the world. In 2008, he co-curated the SITE Santa Fe Biennial, in New Mexico. He is on the board of directors of the International Association of Curators of Contemporary Art (IKT) and the Asociación de Directores de Arte Contemporáneo Español (ADACE).

Óscar Cornago is a Tenured Scientist at the Instituto de la Lengua Española del Consejo Superior de Investigaciones Científicas (Spanish Language Institute of the National Research Council), in Madrid. In 1997 he received a doctorate in Philosophy and Arts, with a specialisation in Hispanic Studies from the University of Strasbourg, and he spent two years at the Freie Universität of Berlín with a post-doctoral research scholarship. His studies have focused on the history and theory of contemporary theatre and literature. Between 2001 and 2006 he led a research project called "La teatralidad como paradigma de la modernidad: análisis comparativo de los sistemas estéticos en el siglo XX" (Drama as the paradigm of modernity: a comparative analysis of 20th century aesthetic systems), financed by the Programa Ramón y Cajal of the Ministry of Education and Science. Apart from numerous articles, he has also published a number of books: La vanguardia teatral en España L (1965-1975):del ritual al juego (Visor, 1999), Puesta en escena y discurso teórico en los años sesenta. La encrucijada de los "realismos" (CSIC, 2001), Pensar la teatralidad. Miguel Romero Esteo y las estéticas de la modernidad (Fundamentos, 2003) and Políticas de la palabra (Fundamentos, 2005), which include texts by Spanish stage creators from recent decades, such as Esteve Graset, Carlos Marquerie, Sara Molina and Angélica Liddell; he also directs the edition of those works by Miguel Romero Esteo that are appearing in the Editorial Fundamentos.

Ignacio Estella Noriega is a doctor in the History of Art. He has given conferences in Spain, Chile and the United States, where he has also spent a post-doctoral period at Columbia University. Among his publications, the first four volumes of Desacuerdos y Fluxus (Nerea, 2012) particularly stand out. He has been a lecturer at the Universidad Carlos III in Madrid and is currently an Alianza Cuatro Universidades researcher at the Universidad Autónoma de Madrid. He is a member of the research group Art History in Spain: Development Narratives and Proposals (HAR2012-32609).

Lola Hinojosa is an Art History graduate, has a Master's in Museum Studies and an Advanced Studies diploma in Contemporary Art. Her main fields of research are performance, the moving image, the institutional review and the gender theory. She is responsible for the Performative Arts and Intermediate Collection of the Reína Sofía Art Museum of Madrid, and has formed part of the curatorial team of the collection presentations since 2009. She has participated in the curatorship of film and video cycles, such as Merce Cunningham, Archipiélago Val del Omar or La pantalla convulsa.

Patricia Mayayo holds a Master's Degree in the History of Art from the Case Western Reserve University (Ohio, E.E.U.U.) and a Doctorate in the History of Art from the Universidad Autónoma de Madrid. At present, she is a Full Professor of Art History at the Universidad Autónoma de Madrid. Between 1998 and 2006, she was a professor of the History of Art at the Universidad Europea de Madrid. Various fields of work are interspersed in her research: the history of women, feminist historiography and the study of contemporary art practices. Among other publications, she is the author of the books Cuerpos sexuados, cuerpos de (re)producción (Barcelona, UOC, 2011), Frida Kahlo. Contra el mito (Madrid, Cátedra, 2008), Historias de mujeres, historias del arte (Madrid, Cátedra, 2003), Louise Bourgeois (Hondarribia, Nerea, 2002) and André Masson: Mitologías (Madrid, Metáforas del Movimiento Moderno, 2002). Together with Juan Vicente Aliaga, she has recently jointly curated the project Genealogías feministas en el arte español, 1960-2010 (Feminist Genealogies in Spanish Art, 1960-2010).

Judit Vidiella is a Doctor of Fine Arts from the Facultad de Barcelona. Her research revolves around studies of performance, education and feminism. She is a member of the performance group, Corpus Deleicti. At present, she is a lecturer at the Universidad de Évora and forms part of the teaching team of the Master's in Visual Arts and Education, at the Universidad de Barcelona.

Gabriel Villota Toyos, since1996, he has been a lecturer in the Department of Audiovisual Communication and Advertising of the Faculty of Social and Communication Sciences, at the Universidad del País Vasco. He has worked as an artist, author and organiser of multiple activities relating to the visual arts. He has collaborated in various publications, such as Rekarte, Zehar, Papers d’Art, Banda Aparte, Política y Sociedad, Revista de Occidente, or Impasse. He has also written texts for exhibition catalogues such as Señales de vídeo (MNCARS, Madrid, 1995), Històries sense argument. El cinema de Pere Portabella (MACBA, Barcelona, 2000), Malas Formas. Txomin Badiola (Museo de Bellas Artes de Bilbao, 2002), and Esfuerzo (KM, Donostia, 2004), among others. Some of his publications include Sujeto e imagen-cuerpo. Entre la imagen del cuerpo y el cuerpo del espectador (UPV/EHU, Bilbao, 2004) and the video, Devenir vídeo (adiós a todo eso) (2005).